Tag Archives: Eliana Gray

Poetry Shelf interview with poems and images: Eliana Gray’s Finland residency

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For all of February I was lucky enough to be selected to undertake a month-long residency in a tiny town in the middle of Finland called Sysma. The only outcomes were that I had to write a report of my time at the end for the cultural institute that sponsors the residency. I went to continue working on my second collection but mostly just wanted to see what would happen once I was there. I was given a room in a giant house on the edge of town near Finland’s second largest lake with a piano and a sauna. For the majority of the time I shared it with just one other person, who became my dearest new friend. The incredibly talented poet from Germany: Ricarda Kiel. Below is a small and disjointed account of this time.

 

Did you have any epiphanies? Life or writing?

 Both. Vigorously. The biggest epiphany had to do with my ideas of what ambition is, what constitutes work, how terrible capitalism is (as if we didn’t already know) and how I want to live my life. It sounds lofty, but can be summed up as this: Capitalism has fucked everything and jobs can kiss my ass. I’ve always enjoyed doing things that are valued weirdly by capitalism: youth work, music, poetry, sexual violence survivor support. Nobody wants to pay you to do these things. I used to think that the way to get around this was just to get very famous. You wanna do music Ellie? Well ok! You better be a popstar then. Ohh, you like doing poetry now do you? Well then, you better fucking hustle until you become the one poet that is allowed to make a living from poetry at any one time. I’ve now realised that, not only does doing the level of work required to become these things burn me the fuck out and strip me of my passion for whatever t is I’m doing. But also! I fucking hate attention! And I hate to be the centre of it! Even if by some weird reason I did become famous enough to make a living off my work I’d most likely become deeply unhappy as a result of it. I’d always thought that once I found my ‘area of work’ that working would no longer be a stress and a drain. That once I was employed in my preferred ‘career path’ I’d be happy. Big time lies my friends. Turns out it’s the working that sucks. My plan now is to work for as long as it takes to go bush with a goat and a veggie garden and then never be seen or heard from again.

 

Is there something you miss?

I miss everything to be honest. I miss waking up at six am and the soft blue light. I miss padding into the quiet kitchen before anyone else is up and staring at the snow with a cup of earl grey tea with oatmilk. I miss everything being made out of oats. I miss the white painted wood floors and the radiators and how the house we always warm even when outside was negative ten degrees. I miss watching the sunrise every morning. I miss noticing the changing trajectories and placings of icicles, ice and snow. I miss waking up to a fresh blanket of flakes and seeing where the birds had been. I miss how quiet and still everything feels underneath snow clouds. I miss how the snow refracts the light and absorbs the sound. I miss walking out onto the frozen lake everyday and dancing by myself. I miss the sense of romance that comes from playing by yourself in the snow. I miss the patterns ice makes from frozen water. I miss the woodpeckers and the hares. I miss seeing the stars from a different angle. I miss Marabou chocolate bars and cheap jars of lemon pesto. I miss the Finnish language and the adventure of a forgien supermarket. I miss Ricarda. I miss our quiet kitchen conversations and how we each needed a similarly small amount of human interaction. I miss walking with her to the abandoned house by the lake and trying to decipher the Finnish graffiti. I miss stargazing and crunching on the frosted moss. I miss the sheets of ice that push up onto the shores of Lake Paijanne and the blankets of pine needles. I miss getting naked and plunging my body beneath the icy water. I miss smiling as the blood rushes to the top of my skin. I miss the intense solitude of being in a place where no one knows you. I miss the comfort of an always warm, well-built house. Of knowing that Ricarda is just upstairs should I need her. That she’ll come knock on my door after nightfall and ask if I’m ok. That if I’m not we can talk about it and she’s so much smarter and calmer than me that it will always be ok.  I miss nightly saunas. I miss sitting naked with my new friend in the sauna as we sweat and discuss German history and politics. I miss living in a culture that isn’t terrified of the naked body. I miss my wonderful new friend. I miss the way my body feels so boneless after a sauna that I fall directly asleep. I miss my life in Sysma. I miss Ricarda. I miss not having a job. I miss having my writing be a valued part of my time. I miss being able to live my life in a way that only pleases me. I miss everything.

 

What books did you take?

 

Head Girl – Freya Daly-Sadgrove

Mayhem #7- edited by Tracey Slaughter

This gender is a million things that we are more than – edited by essa may ranapiri

Sport 47– edited by Tayi Tibble

 

I spent a lot of time picking which books I would take with me. It was a balance between bringing necessary inspiration and ensuring that my backpack could be carried by my back.

I took Head Girl because Freya is a beautiful genius but also because I was working on a review of it for the Minarets website. This is how I justified bringing a book by a single author.

The rest of the selection are all tomes filed with a breadth of writers from Aotearoa that I’m obsessed with. It made me feel so grateful for the glut of exciting work in this country. That I could take three volumes and have with me more poetry from my favourite poets than I could get through is such a blessing.

A lovely happening that spun off from my carrying these books is that I was able to lend them to my residency mate and new sweet friend Ricarda, an incredibly talented poet from Germany.

A big big heartfelt thank you to all the beautiful poets in these volumes for inspiring me and keeping me company during this residency.

 

 

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P o e m s

 

 

Pile of bodies like the dead

 

You look like spilled milk, celestial

Sitting on your bed in the early afternoon

We’ve been fucking for days

 

I passed out in the shower

Steam heat smothered my brain till it stopped working

slid me down the humid glass

Your hands all over

could have held me up

Against you, been fucking me for days

 

I wake up on the floor in the hallway and you’re yelling

dragging my hair back to the bedroom

I pretend you’re tender

Pretend I like it

not to notice you’re embarrassed cause

 

You know lonely men

shouldn’t fuck seventeen year olds

 

Airways unconstricted by age

we swallow up steam like we’re starving

And yeah I’m ready to try anything

look how hungry they’ve kept me

 

Like sitting at an empty birthday party

How pathetic to invite people

to enjoy yourself

Spend all your time stringing

balloons on a letterbox

 

Bag of homemade favours by the door

Everybody gets one

Except for you

 

 

new piece

 

I feel so fucking………mature

Fragrant flesh lobed and so

Ripe, it’s a little embarrassing

 

But so sweet!

The earnest growth of sugars

Both natural and bred

My body a sum of traits innate

And selected, curation not mine

And still authentic

 

How I swell

My pith extending

Cell walls expanding

Strain creating bitterness, as a warning

A balance to the sweetness, again

 

How beautiful I’ll be when I stop

Reach my peak of consumption

Aesthetic requirements fulfilled

Skin appropriately thickened, still porous

Still able to be hooked

Gripped between forefinger and thumb

Penetrated, peeled back

 

They’ll marvel at my outside

Puckered yes, but how shiny!

My skin: a good thickness

My pith present, inoffensive

But providing some necessary ‘grit’

 

I am beautiful

They tell me I’m beautiful

They hold me in their hands

They press me to their mouths

I am waiting for them to bite down

 

 

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‘The Top Ten Types Of Boys You’ll Date In College’

 

Shoes scraping the carpet thread

Bare. Your eyes, heavy-lidded

Rounded, like the cushions

Your skate shoes are dirty

Caked with dirt

You talk to me about Heidegger and

I couldn’t give less of a shit

 

Temporality temporalizes as a future

which makes present in the process of having been

 

You say, passing the bong as if its

The idea itself. As if we

Heavy-lidded, were so present

as to be dust. Settled

On everything without notice

 

Run our fingers through the air

And come up coated

You’re still looking at me

 

You’re still looking at me and

I can feel it

Like how you say you can feel it

When I roll my eyes behind your

Back but I know you’re lying because

I only ever roll my eyes

When you leave

The room

 

You’re cool

You’re dust

You’re reclusive

But you have so many FRIENDS

At least a thousand by my last count

Everyone is one of your boys

 

Understanding of being is itself a determination of being

 

You say

passing the bong

As if this isn’t

a worse version

Of the same joke ten minutes before

 

We still laugh, of course

We wouldn’t want you to be

Uncomfortable

 

Above your head there’s a poster

Tits out. BIG tits. Red bikini

Hair flying! Straddling

A motorcycling! She’s

Tougher than you, she’s

Seen some shit, man

 

I smile at her, but keep my lids low

So it still looks

Like I’m smiling

At you

 

 

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Eliana Gray is a poet from Ōtepoti. They like queer subtext in teen comedies and not much else. They have had words in: SPORT, Mimicry, Minarets, Mayhem and others. Their debut collection, Eager to Break, was published by Girls On Key Press (2019) and they are the 2020 writer in residence at both Villa Sarkia, Finland and St Hilda’s Collegiate, Ōtepoti.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Poetry Shelf connections: two poems from Eliana Gray

 

Regent’s Canal

 

We push a trolley

Into the canal

Just to watch it sink

Slowly, then all at once

Like they talk about love:

Swallowed, completely

Clear toxic liquid

Opaque

 

Both the nature of desires

And love, yes, love is viscous

Festooned with trash

Bumping up by the locks

In the waterway

Single use plastics

Brushing hands with

Twist ties, bloated crusts and

 

Isn’t it interesting?

How we’ll steal something

Just to break its purpose

Hoarding mentality

But sideways, emotional

 

The thrill of a sharpened crayon

The compulsion for bluntness

For rubbing, hard

On a perfect ending

 

Are we trying to make ourselves soft?

Trying to fit

The world to our curvature?

Action’s nothing more than a

Mechanism of coping

 

And what does that say about Romance, hmmm?

 

Supermarket nightwork:

Pigeons looking fat and sensuous

Moonlit tension

Pilfered fizz and roses

Stolen, from a discarded bench

In Victoria Park

 

Push me dangerously

Close to the water

Make me believe

You’ll tip me in

 

We’ll laugh a little too

Tight, too high, too fast

Like, of course we know

You don’t mean to hurt me

But the back wheel

Has always been faulty

(as stolen trolleys tend to be)

Seems like it’s locking

Skidding, sideways, again

 

What if it flies out of your hands?

What if it just . . .  keeps skidding

And my feet, stuck under

Crossed legs, my scarf, my

Jacket too bulky for sudden moves

 

What if I try to jump

And it just . . . .  tips?

Crack my head against the metal

Concrete, what if the wheels

Are already over the edge?

My centre of gravity not heavy enough

 

What if it teeters, expectantly

On the edge of the canal

And you’ve finally decided

To reach your hand to steady

But your balance is off and

You push

 

How long would you stand?

Watching. My head, my

Hands, beneath the water

Viscous fill my lungs

Swallow me like the trolley

 

 

All I want is to be absolutely perfect forever

 

I want to live like an ornamental apple

Protected from consumption

Slick plastic blush red perfect

Looking so delicious

Resting, in a crystal bowl

 

Beautiful and

An irresponsible use of plastic

Something that could be art but isn’t

And not in the sense that ‘everything is art’

Because it isn’t

 

A perfectly useless representation

of something so cliche

It feels almost overwhelming

 

A stand in for temptation

with no intention or ability

To be so desirous

 

No perfumed smell

no golden hanging from the garden

no pollination no rotting no flies

 

Is it still stasis

if you’ve reached your final destination?

And how long exactly

Is a sense of finality satisfying?

 

Anticipation and anxiety are a Venn diagram

with approximately one circle

The only way to soothe them

is to complete the task

 

I want to live like an ornamental apple

Slick red plastic constant state of blush perfect

The promise of forever

A lifetime sabbatical

Researching absolutely nothing

 

Eliana Gray

 

 

Eliana Gray is a poet from Ōtepoti, Aotearoa. They like queer subtext in teen comedies and not much else. They have had words in: SPORT, Mimicry, Minarets, Mayhem and others. Their debut collection, Eager to Break, was published by Girls On Key Press (2019) and in 2020 they will be both a writer in residence at Villa Sarkia, Finland and Artist in Residence at St Hilda’s Collegiate, Ōtepoti.

 

 

 

 

Poetry Shelf questions poets: Do poetry communities matter to you?

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Part of my aim with Poetry Shelf is to build bridges between diverse poetry communities and in doing so create a hub for sharing poems, interviews, news, anecdotes, ideas, interviews, audio, podcasts, reviews, new books, old books and so on. I want to engage with and showcase a diversity of voices.

I live on the outskirts of Auckland on the west coast, with dodgy internet, mobile reception and power, and at the moment scarce water (!) and I don’t get into the city that often. So I am dependent on the books I am sent, and my communications with as many poets as possible. I feel both inside and outside communities, belonging not-belonging.

Researching and writing Wild Honey took me into all manner of communities – past and present. Utterly fascinating. Always surpising. I found goodwill, bitchiness, support and aroha in the archives. Connections between women poets seemed vital, especially when women were writing in the shadows. The 2019 Wild Honey events were something special – and got me thinking about connectedness and bridges and how belonging to one community is not enough. Listening hard counts. I agree with Louise Wallace – kindness,  generosity and diversity – are crucial. I see this in what she is doing with The Starling.

Poetry Shelf is my made-up and constantly evolving community and includes best friends, people whose poetry I have admired for a long time, people whom I have never met, new discoveries. Why do I do this crazy thing that takes up so much time and operates outside the currency of money? Because no matter how tired or challenged or doubt-smashed I feel, in its drive to celebrate, question, and connect, Poetry Shelf is a necessary form of nourishment. It is like a huge loving poetry family with a truckload of goodwill and support. It constantly surprises and delights me. Do keep in touch. Do let me know of new discoveries.

 

Louise Wallace:
Poetry communities matter and have mattered to me immensely. Writing is of course a solitary act, but what’s the fun in doing the rest of it alone? A common misconception seems to be that the NZ poetry community is bitchy or competitive. I have found the opposite to be true. I am grateful for the opportunities I have received, often sent my way by other writers. Poetry communities can fulfil different needs at different times. As a young writer I really valued being surrounded by my peers who were on the same journey as me, and the help and guidance offered to me by senior writers. As a new mum last year I was physically isolated, unable to attend many literary events. Online communities filled that gap as a way to stay connected and still feel myself – I listened to poetry podcasts while out walking my son in his pram, I kept up with NZ poetry news on twitter whenever I could check my phone. Community to me means creating space for others. It means making sure there is room for as many different voices as we can imagine. It means generosity and kindness: lifting each other up. If there’s a window, fill it with someone else’s name.

 

Jordan Hamel:

I spent a long time figuring out how to answer this. Obviously the answer is yes, but I didn’t know how to articulate what poetry communities to me, ironically it took me to until last minute to ask other people for their opinions, my friend Sara gave me a great analogy. There’s an old classroom trust-building exercise where a bunch of kids sit in a circle and two kids in the middle are blindfolded and try to beat each other with rolled-up newspaper. They have to rely on the voices of the circle to tell them where to swing and gently push them in the right direction. What an apt metaphor, almost too on the nose. Sincerity is awful and I apologise in advance but strap yourself in because here we go.

When I first started writing, like most people I felt like the blindfolded kid swinging the newspaper, never sure if I was hitting anything. In the past couple of years I’ve found a circle, well circles plural, different, intersecting, amorphous circles, some occupy physical spaces like readings, writers groups and open mics, others digital and less tangible, all are so important to me and my poetry. I think the great thing about the metaphor is, in poetry communities you aren’t always the one in the middle wildly swinging, you’re also in the circle guiding others as they go through the same thing, sometimes you’re the one who created the circle in the first place, but as wholesome as this extended metaphor is, poetry communities in NZ aren’t perfect, we could all take a look at our circles and think how we can make them bigger, more inclusive, flexible, every so often we can turn around and try to see who’s outside the circle, blindly stumbling and swinging on their own, or who’s too nervous to even ask to join in. I’ve been lucky enough to find people who will let me play even though most of the time I still feel like a blindfolded kid swatting at darkness, but I think everyone feels that way and everyone needs those voices.

 

 

Sugar Magnolia Wilson:

This is such a good question for me right now. The answer is very much yes, poetry communities do matter to me, but also, no, not as much as they used to in the way that they used to.

Before 2012 my poetry community was just myself. I wrote and wrote, for years, in creative isolation and it was awesome, but I didn’t know any different so it wasn’t really anything. It was just the way it was. Come 2012 and I got accepted into the IIML masters course. It changed my life. My views were challenged, my writing grew, and I had such an amazing time being part of the Wellington writing community. The book launches. Amazing writer friends with the same writerly bullshit struggles. The support and lots of love and wine. So much creative generosity and oh boy is Wellington good at that. Without that kind of hothouse scenario, my book wouldn’t have happened, and I wouldn’t have turned my writing into a craft. But … like all good things, it needed to have its own little death.

I started, last year some time, to feel a bit sad about the whole thing. The launch of Wild Honey really defined what a poetry community should look like for me; big, wise, loving, many-voiced, multi-generational. I can’t really explain it, other than I felt like my IIML year had gone on for eight years instead of one, and that I was really and truly ready to graduate and throw my cap off and leave it in the rain. I realised that in order for my writing to survive beyond one book, that I needed to go it alone, to figuratively and literally move away, to let go of all the stuff and the scene and sort of competitive element than can start to creep in. I’m not interested in that stuff and I don’t want to be defined by my success on the Unity Books Bestsellers list. No shade to Unity wot wot.

Anyway, now I live in the bush and it’s nice, and I’m eternally grateful for poetry communities. I am hoping that over time a new kind of one will grow. Something wild and sweet that lets me grown in new ways.

 

Eliana Gray

Yes!!!! Where would I be, where would any of us be without community? Community to me is the bedrock and the impetus for everything. Why do we write if not to communicate with others? Why do we communicate if not to build community? I feel that almost every – if not all – human action has community building at its base.
We would be very little without community, isolated ghosts. I don’t think that sounds very fun. Other humans are one of the key ways we define our existence. I just can’t imagine life without it. Communities make me a happier person, a better writer, more accountable, more empathetic, a smarter person, harder, better, faster, stronger, all of it. Thank you to everyone in my poetry communities. I am still alive because you make life very appealing.

 

Vana Manasiadis:

I tried to answer this question before I fell down a metaphor hole grabbing at definitions all the way. What do I think a [poetry] community is, does, has? I like these community values: respect, agency, meaningful participation, collaboration, integrity, inclusion. When I’ve had poetry community experiences that have included lots of these things – kōrero, voices, tautoko – they are like blood transfusions. Like actual substance, and substantiveness. Like: I don’t have to long-walk/talk-listen-disagree-agree-eat-drink-stay late with my poetry community every day and night (though that’s the dream) but I do need more than brief SM broadcasts. (And clearly I’m saying this as a judgmental SM recluse who has swallowed the hard self-inflicted pill of not being part of a/the poetry community online; and who spends way too much time wondering whether it’s even possible to be in the same community as folks who’ve super-active-online-selves). But. Anyway. In my wider-panning poetry community (see above) – which really, really matters to me (see blood) – aside from curation there’s also accident, mess, aporía, and slow time. And now I think of it, I’m in a small but ecstatic community of poets who write long and languorous emails to each other. I should say epistles obviously.

 

 

Emer Lyons:

I was working on Heather McPherson’s poem ‘stein song for the blue house’ this month and I was drawn back to a quote from Starhawk’s book Spiral Dance: The Rebirth of The Ancient Religion of The Great Goddess:

And Goddess religion is lived in community. Its primary focus is not individual salvation or enlightenment or enrichment but the growth and transformation that comes through intimate interactions and common struggles. Community includes not only people but also the animals, plants, soil, air and water and energy systems that support our lives. Community is personal­—one’s closest friends, relatives, and lovers, those to whom we are accountable. But in a time of global communications, catastrophes, and potential violence, community must also be seen as reaching out to include all the earth (1999, 22).

Poetry communities are rife with nepotism, can become insular, and elitist, and benchmarks in people’s minds for what is deemed good or bad poetry, rather than the focus being on the sharing of “intimate interactions and common struggles.” The poet Fatimah Asghar says, “I work in the medium of community,” and I feel that, but only as far as community is a place from which I can question, include, and remain accountable.

 

 

Kiri Piahana-Wong:

Yes! Poetry communities matter, and they matter to me. I love how people who write in different styles and perform in different modes can find their poetry ‘home’ in different communities of poets. For many years my poetry community was Poetry Live. Attending the event every week somehow kept me grounded in poetry, and the friends I made there were endlessly encouraging of my poetry attempts. It made me feel strongly that poetry was not a niche hobby but rather an art form to take seriously. I’m grateful for the years that Poetry Live was my second home, and I’m also not the first person to meet their husband/future husband or wife/future wife there!

 

 

Olivia Macassey:

To begin my answer at the shallow end, writing poetry can feel like a bit of a strange compulsion, so there’s camaraderie involved in being with others who are just as crazy. I vividly remember my astonishment and joy when, as a teenager, I first encountered a bunch of poets en masse (in 90s Auckland at the Shakespeare tavern), and realized how not-alone I was. There’s a solidarity involved in this, which can be supportive and nurturing, and that matters to me. In recent years I’ve been involved in projects in the Northland community, led by Piet Nieuwland, and appreciate the wider perspective of seeing how poetry communities and other communities overlap and weave together and strengthen one another. Shared experiences, interests, kaupapa are essentially about similarity, but there’s also an important dimension that is about difference, mutual discovery and renewal: the way we encounter new ways of seeing and thinking and writing, spark off one another aesthetically, conceptually, politically, or in terms of practice.

Another important type of community is the kind of imagined communities we inhabit as writers. In a narrow sense I see this in, say, different people who may be connected through a particular publisher or publication (such as brief or this blog) – poets I may have read a lot, but not necessarily met or interacted with – but in a wider sense, it’s about ‘finding your people’ outside the constraints of time and place. An imagined community can centralize marginal poetics; social class, disability, sexuality. In my youth, I think without a sense of structures of feeling beyond the mainstream paradigms, or some connection to other poetic genealogies, I would have felt lost, and these communities continue to matter to me. At the deepest level though, for me, the act of writing always already anticipates community because a poem is a priori an act of communication, of reciprocity; its very existence implies a shared world. I write because I have found you: I write in order to find you.

 

James Norcliffe:

Writing poetry is a solitary act and in adolescence, when poetry began for me, it had a solitary audience as well. There was often an idealised, intended audience, but I was never brave enough to show my poems to her.

Later, though, craving a larger audience, it became apparent that other people wrote poetry too, and while the practice wasn’t as arcane as clog dancing or synchronised swimming (although it was up there) it  was clearly rarefied. Still, reading and submitting to magazines and attending the odd reading, made me aware that these people had names. Moreover some of them were local and, in time, I got to know them.

I’m not entirely sure what a ‘poetry community’ is. I’m pleased the question put community in the plural as it suggests a variety of communities of different sizes, purposes and flavours.

I belong to several. Firstly there is a small core of very close friends I’ve made through poetry and whom I number among my nearest and dearest. We meet regularly, eat together, occasionally holiday together and generally have a great time. We read and support each other’s work (and often launch it), but we’ve moved beyond the shallows of writing and into the warmer, deeper sea of friendship.

Secondly, there’s a closely-knit of poets of about half a dozen poets whom I meet with monthly, a group David Gregory once laughingly called the ‘poots’ groop’ and so the name remains. The p.g. has a shifting population with a fairly stable core and we meet to share and critique each other’s poems. It has been going probably about twenty years and one or two of the first group are part of this as well. I’m off to a meeting tonight feeling a little fraught as I need to find something to take. Even, if I don’t find anything I know I’ll have a great time and that among the laughs there’ll be a lot of close reading and penetrating thought. Just lovely.

Thirdly there’s the wider group of Christchurch writers I’ve been associated with for well over thirty years: the Canterbury Poets’ Collective. This highly active group organises an annual series of readings, bringing poets from beyond the city to a relatively large Christchurch audience. There are eight readings a season – now in Spring – involving over twenty four guest readers and large numbers of b.y.o. people. The CPC also occasionally organises one off readings and events, typically National Poetry Day celebrations. I suppose it involves two communities: the organising committee who are a dedicated set who mix a common goal with fellowship, and the wider collective who come along to support the readings, a large number of whom take part.

Finally, there’s the wider national poetry community of poets I’ve got to know over the years through the magazine and book editing I’ve done. A number of these I’ve only corresponded with, but most I’ve eventually met in real life and many have become firm friends.

All of these communities are hugely important to me. Writers are assumed to have monstrous egos and are supposed to be fiercely competitive. This has not been my experience. I’ve treasured the warmth, encouragement and critical support of people within all of these groups, particularly the more intimate ones. I have never been especially confident in my person or sure of my work although I pretend otherwise. It has been so good to have been nurtured by these communities and so satisfying to have nurtured others who are part of them

 

Hebe Kearney:

The Titirangi Poets group meets once every month in the Titirangi library, surrounded by bush and chickens, which roam the library car park in gangs. When poetry happens, it happens in a circle. Each person reads in turn like a set of dominoes, one following the other. A ‘round robin’ format.

Just knowing that they are there, in the clean and the library quiet, taking a few hours just for the sake of words, makes me feel better about waking and walking in this world. When I had the privilege of reading there I experienced it as a circle of support, everyone had a kind word to say, a suggestion to give me about honing the sound of my voice and words.

Poetry communities like this matter because everywhere there is poetry there are words living, words breathing and growing in power. Virginia Woolf once described poetry as ‘a voice answering a voice’ – poetry is always communal in that it is always a communication, a reaching of one person towards another and back. Poetry communities not only matter, but poetry communities are themselves part of the act of poetry.

Personally, I have tended to write quietly and hold my words close to myself. It is only recently I have begun learning to let my words free, and to really acknowledge the part of poetry that is the voice listening and the voice answering back. And it is through poetry communities that this interaction of voice and voice can be facilitated.

So I am bursting with appreciation and gratitude for poetry communities. They make space in a busy world for the simple beauty of words, and remind those of us with a penchant for hiding of the reciprocity at the heart of poetry. The way that, in essence, it is all about sharing.

 

 

The contributors:

 

Eliana Gray is a poet from Ōtepoti. They like queer subtext in teen comedies and not much else. They have had words in: SPORT, Mimicry, Minarets, Mayhem and others. Their debut collection, Eager to Break, was published by Girls On Key Press (2019) and they are the 2020 writer in residence at Villa Sarkia, Finland. It is very very snowy and they love it.

Jordan Hamel is a Pōneke-based poet and performer. He was the 2018 New Zealand Poetry Slam champion and competed at the World Poetry Slam Championships in 2019. He has poems published or forthcoming in Sport, takahē, Poetry NZ Yearbook 2020, Mimicry, Mayhem, Queen Mob’s Teahouse and elsewhere.

Hebe Kearney is from Christchurch but now calls Auckland her home. She currently studying to complete her Honours in Classics at the University of Auckland. Her work has appeared in Starling, The Three Lamps and Oscen.

Emer Lyons is an Irish, lesbian writer in her final year as a creative/critical PhD candidate in the English programme at the University of Otago, Dunedin.

Olivia Macassey’s poetry has appeared in Rabbit, Poetry New Zealand, Otoliths, Takahē, Landfall and other places. She is the author of two books, edits brief and co-edits Fast Fibres.

Vana Manasiadis is a Greek-New Zealand poet, translator and creative writing teacher who has been moving between Aotearoa and Greece, and is now living in Tāmaki Makaurau/Auckland. She is the co-editor of the Seraph Press Translation Series, and was the editor and translator of Ναυάγια/Καταφύγια: Shipwrecks/Shelters: Six Contemporary Greek Poets (2016) and co-editor, with Maraea Rakuraku, of Tātai Whetū: Seven Māori Women Poets in Translation. Her second poetry collection The Grief Almanac: A Sequel appeared in 2019 (Seraph Press).

James Norcliffe is a poet, editor and children’s author. He has published ten collections of poetry, most recently Deadpan (OUP, 2019). In 2010 he took part in the XX International Poetry Festival in Medellin, Colombia and in 2011 the Trois Rivieres International Poetry Festival in Quebec. With Jo Preston he co-edited Leaving the Red Zone, a collection of poems prompted by the Canterbury earthquakes and, with Michelle Elvy and Frankie McMillan, Bonsai (CUP) New Zealand’s first major collection of flash and short fiction. A new anthology co-edited with Michelle Elvy and Paula Morris  Ko Tātou Aotearoa | We Are New Zealand celebrating Aotearoa / NZ diversity is to be published this year.

Kiri Piahana-Wong is a poet and editor, and she is the publisher at Anahera Press.

Louise Wallace is the author of three collections of poetry published by Victoria University Press, most recently Bad Things. She is the founder and editor of Starling. Louise lives in Dunedin with her husband and their young son, and is currently working on a PhD in Creative Writing, focussing on contemporary long-form narrative poetry by women.

Sugar Magnolia Wilson lives in Fern Flat, a valley in the far North. In 2012 she completed her MA in creative writing at the International Institute of Modern Letters at Victoria University of Wellington. Her work has appeared in a number of journals, both in New Zealand and overseas, and she co-founded the journal, Sweet Mammalian, with Morgan Bach and Hannah Mettner, which is now run by poet, Rebecca Hawkes. Auckland University Press launched Magnolia’s debut collection, cecause a Woman’s Heart is Like a Needle at the Bottom of the Ocean in 2019; it is longlisted for the Ockham NZ Book Awards.